Djibril Diop Mambéty

Djibril Diop Mambéty (January 1945 – July 23, 1998) was a Senegalesefilm director, actor, orator, composer and poet. Though he made only two feature films and five short films, they received international acclaim for their original and experimental cinematic technique and non-linear, unconventional narrative style. Born to a Muslim family near Dakar, Senegal's capital city, Mambéty was Wolof. He died in 1998 while being treated for lung cancer in a Paris hospital.

The son of a Muslim cleric and member of the Lebou tribe, Djibril Diop Mambéty was born near Senegal's capital city of Dakar in Colobane, a town featured prominently in some of his films. Mambéty's interest in cinema began with theater. Having graduated from acting school in Senegal, Mambéty worked as a stage actor at the Daniel Sorano National Theater in Dakar until he was expelled for disciplinary reasons. In 1968, at age 23, without any formal training in filmmaking, Mambéty directed and produced his first short film, Contras' City (City of Contrasts). The following year Mambéty made another short, Badou Boy, which won the Silver Tanit award at the 1970 Carthage Film Festival in Tunisia.

Mambéty's technically sophisticated and richly symbolic first feature-length film, Touki Bouki (1973), received the International Critics Award at Cannes Film Festival and won the Special Jury Award at the Moscow Film Festival, bringing the Senegalese director international attention and acclaim. Despite the film's success, twenty years passed before Mambéty made another feature film. During this hiatus he made one short film in 1989, Parlons Grandmère (Let's talk Grandmother).

Hyènes (1992), Mambéty's second and final feature film, was an adaptation of Friedrich Dürrenmatt's play The Visit and was conceptualized as a continuation of Touki Bouki. At the time of his death, the film director had been working on a trilogy of short films called Contes des Petites Gens (Tales of the Little People). The first of the three films was Le Franc (1994). At the time of his death Mambéty had been editing the second film of that series, La Petite Vendeuse de Soleil (The Little Girl Who Sold the Sun), which premiered posthumously in 1999. His early death to lung cancer, at age 53, occurred in a Paris hospital.

The notion of hybridity is a theme that runs through many of Djibril Diop Mambéty films. Like many of his contemporaries, Djibril Diop Mambéty used the cinematic medium to comment on political and social conditions in Africa. As critiques of neocolonialism, like those of Ousmane Sembène and Souleymane Cissé, Mambéty's films can similarly be understood in the context of Third Cinema. Yet, his often unconventional, surrealist, fast-paced, non-linear style distinguishes Mambéty from other prominent filmmakers of FrancophoneAfrican Cinema who employed more traditional didactic, social realist narratives.
African Studies scholar Sheila Petty notes, "unlike other African filmmakers of the late 1960s and early 1970s whose films were structured around essentialist nationalist discourse focused on the binary opposition of African values versus cultural alienation, Mambéty sought to expose the diversity of real life".[2] According to critics like Petty, his films were an expression of an African sensibility neither locked into narrow nationalism nor into colonial French culture. Instead of rejecting or elevating one as more or less authentically African, Mambéty confronted and engaged with postindependent Africa's complexities and contradictions. Montage sequences in his films that are overflowing with symbols and sounds of traditional and modern Africa, as well as contemporary European culture, depict hybridity. In addition, his own editing and narrative style are a confluence of the ancient griotic tradition of tribal storytelling and modern avant-garde techniques. Mambéty was interested in transforming conflicting, mixed elements into a usable African culture, and in his words, "reinvent[ing] cinema".[3]

Other common thematic concerns in Mambéty's films are power, wealth and delusion. Offering a cynical view of humanity in his last feature-length film, Hyènes, Mambéty implicates Africans themselves for a continuing dependency on the West. Through the film and in many interviews, the director suggests that Africans are short-sighted in looking to the colonial past for their future, and are misled by their unrestrained desires for material goods that ensure Africa's dependency on foreign aid. Ultimately, however, Mambéty transmitted a message of hopefulness in his final films, which elevate the "little people," as the bearers of a positive and new Africa. "The only truly consistent, unaffected people in the world," Mambéty once said of the marginalized, "for whom every morning brings the same question: how to preserve what is essential to themselves".[4]

"The word griot...is the word for what I do and the role that the filmmaker has in society...the griot is a messenger of one's time, a visionary and the creator of the future." (Africa Shoots Back)

"One has to choose between engaging in stylistic research or the mere recording of facts. I feel that a filmmaker must go beyond the recording of facts. Moreover, I believe that Africans, in particular, must reinvent cinema. It will be a difficult task because our viewing audience is used to a specific film language, but a choice has to be made: either one is very popular and one talks to people in a simple and plain manner, or else one searches for an African film language that would exclude chattering and focus more on how to make use of visuals and sounds."[3]

"Birds know what god is like. They are nearer than Hyenas to god. They are like some kind of elephant whose wings flow in the wind, and African Film makers can be birds for reinventing the seventh art. We are perhaps poor in money but so rich by situation and hope".[5]

Djibril Diop Mambéty's earliest film, a short entitled Contras'city (1968), highlighted the contrasts of cosmopolitanism and unrestrained ostentation in Dakar's baroque architecture against the modest, everyday lives of the Senegalese. Mambéty's recurrent theme of hybridity—the blending of elements from precolonial Africa and the colonial West in a neocolonial African context—is already evident in Contras'city, which is considered Africa's first comedy film.

In 1970 Mambéty released his next short, Badou Boy, another sarcastic look at Senegal's capital that followed the adventures of what the director described as a "somewhat immoral street urchin who is very much like myself".[7] The contest pits the non-conformist individual against an absurdly caricatured policeman who pursues the protagonist through comedically improbable scenarios. Badou Boy celebrates an urban subculture while parodying the state.

Considered by many to be his most daring and important film, Mambéty's feature-length debut, Touki Bouki (The Hyena's Journey) more fully developed his earlier themes of hybridity and individual marginality and isolation. Based on his own story and script, Djibril Diop Mambéty made Touki Bouki with a budget of $30,000—obtained in part from the Senegalese government. Though influenced by French New Wave, Touki Bouki displays a style all its own. Its camerawork and soundtrack have a frenetic rhythm uncharacteristic of most African films—known for their often deliberately slow-paced, linearly evolving narratives. Through jump cuts, colliding montage, dissonant sonic accompaniment, and the juxtaposition of premodern, pastoral and modern sounds and visual elements, Touki Bouki conveys and grapples with the hybridization of Senegal. A pair of lovers, Mory and Anta, fantasize about fleeing Dakar for a mythic and romanticized France. The film follows them as they try to scavenge and hustle the funds for their escape. They both make it to the steamliner that would transport them to Paris, but before it disembarks, Mory is drawn back to Dakar and cannot succumb to the seduction of the West. Touki Bouki won the Special Jury Award at the Moscow film Festival and the International Critics Award at Cannes.

Touki Bouki ranked #52 in Empire magazines "The 100 Best Films Of World Cinema" in 2010.[8]

An African adaptation of Friedrich Dürrenmatt's famous Swiss play, The Visit, Hyènes (Hyenas) tells the story of Linguere Ramatou, an aging, wealthy woman who revisits her home village—and Mambéty's—of Colobane. Linguere offers a disturbing proposition to the people of Colobane and lavishes luxuries upon them to persuade them. This embittered woman, "as rich as the World Bank," will bestow upon Colobane a fortune in exchange for the murder of Dramaan Drameh, a local shopkeeper who abandoned her after a love affair and her illegitimate pregnancy when she was 16. The intimate story of love and revenge between Linguere and Dramaan parallels a critique of neocolonialism and African consumerism. Mambéty once said, "We have sold our souls too cheaply. We are done for if we have traded our souls for money"[3]
Although its characters are distinct, Mambéty considered Hyènes to be a continuation of Touki Bouki and a further exploration of its themes of power and insanity. Wasis Diop, younger brother of Djibril Diop Mambéty, is responsible for the film's soundtrack.The film is distributed by California Newsreel Productions.

This first film in Mambéty's uncompleted trilogy, Contes des Petites Gens (Tales of Little People), Le Franc (1994) uses the French government's devaluation of the CFA Franc to comment on the absurd schemes people concoct to survive a system that rewards greed rather than merit. The film features a poor musician, Marigo, who finds solace in playing his congoma, which has been confiscated because of his debt. Marigo plays the lottery, and despite winning, encounters obstacles to claiming the reward. The film is both slapstick and symbolic of the lottery-style luck that benefits some and hampers others in the global economy.
Le Franc is part of the project, Three Tales from Senegal which also includes "Picc Mi" (Little Bird) and "Fary l'anesse" (Fary the Donkey).The film is distributed by California Newsreel Productions.

As the second installment in Mambéty's trilogy exalting the lives and promise found among ordinary Senegalese, the 45-minute film, La Petite Vendeuse de Soleil (The Little Girl Who Sold the Sun) depicts a young beggar girl, Sili, who on crutches, confidently makes her way through a city of obstacles, evading a group of bullies, and selling newspapers to make money for herself and her blind grandmother. Mambéty dedicates his last film to "the courage of street children". His luminous main character, Sili, manages to make this a sympathetic and optimistic look at the struggle and potential of Africa's most oppressed—young, female, poor, disabled. The movie is accompanied by a score by Mambéty's brother, Wasis Diop. This film was selected as one of the ten best films of 2000 by the Village Voice. Reviewer for The New York Times, A.O. Scott described the film as a "masterpiece of understated humanity."[9]

Mambéty was the older brother of musician Wasis Diop and the uncle of actress and director Mati Diop, Wasis Diop's daughter. He was the father of Teemour Diop mambety and soon to be grandfather of Malayka mambety Diop

1.
Dakar
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Dakar is the capital and largest city of Senegal. It is located on the Cap-Vert peninsula on the Atlantic coast and is the westernmost city in the Old World as well as on the African mainland. The city of Dakar proper has a population of 1,030,594, the area around Dakar was settled in the 15th century. The Portuguese established a presence on the island of Gorée off the coast of Cap-Vert, France took over the island in 1677. Following the abolition of the trade and French annexation of the mainland area in the 19th century, Dakar grew into a major regional port. In 1902, Dakar replaced Saint-Louis as the capital of French West Africa, from 1959 to 1960, Dakar was the capital of the short-lived Mali Federation. In 1960, it became the capital of the independent Republic of Senegal, Dakar is home to multiple national and regional banks as well as numerous international organizations. From 1978 to 2007, it was also the finishing point of the Dakar Rally. The Cap-Vert peninsula was settled no later than the 15th century, by the Lebou people, the original villages, Ouakam, Ngor, Yoff and Hann, still constitute distinctively Lebou neighborhoods of the city today. In 1444, the Portuguese reached the Bay of Dakar, initially as slave-raiders, peaceful contact was finally opened in 1456 by Diogo Gomes, and the bay was subsequently referred to as the Angra de Bezeguiche. The Portuguese eventually founded a settlement on the island of Gorée, the mainland of Cap-Vert, however, was under control of the Jolof Empire, as part of the western province of Cayor which seceded from Jolof in its own right in 1549. A new Lebou village, called Ndakaaru, was established directly across from Gorée in the 17th century to service the European trading factory with food, Gorée was captured by the United Netherlands in 1588, which gave it its present name. The island was to switch hands between the Portuguese and Dutch several more times before falling to the English under Admiral Robert Holmes on January 23,1664, and finally to the French in 1677. Though under continuous French administration since, métis families, descended from Dutch and French traders and African wives, the infamous House of Slaves was built at Gorée in 1776. In 1795 the Lebou of Cape Verde revolted against Cayor rule, a new theocratic state, subsequently called the Lebou Republic by the French, was established under the leadership of the Diop, a Muslim clerical family originally from Koki in Cayor. The capital of the republic was established at Ndakaaru, in 1857 the French established a military post at Ndakaaru and annexed the Lebou Republic, though its institutions continued to function nominally. The Serigne of Ndakaaru is still recognized as the political authority of the Lebou by the Senegalese State today. The slave trade was abolished by France in February 1794, however, Napoleon reinstated it in May 1802, then finally abolished it permanently in March 1815

2.
Senegal
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Senegal, officially the Republic of Senegal, is a country in West Africa. Senegal is bordered by Mauritania in the north, Mali to the east, Guinea to the southeast, and Guinea-Bissau to the southwest. Senegal also borders The Gambia, a country occupying a narrow sliver of land along the banks of the Gambia River, Senegal also shares a maritime border with Cape Verde. Senegals economic and political capital is Dakar and it is the westernmost country in the mainland of the Old World, or Afro-Eurasia, and owes its name to the Senegal River, which borders it to the east and north. The name Senegal comes from the Wolof Sunuu Gaal, which means Our Boat, Senegal covers a land area of almost 197,000 square kilometres and has an estimated population of about 15 million. The climate is Sahelian, but there is a rainy season, the territory of modern Senegal has been inhabited by various ethnic groups since prehistory. Organized kingdoms emerged around the century, and parts of the country were ruled by prominent regional empires such as the Jolof Empire. The present state of Senegal has its roots in European colonialism, which began during the mid-15th century, the establishment of coastal trading posts gradually led to control of the mainland, culminating in French rule of the area by the 19th century, albeit amid much local resistance. Senegal peacefully attained independence from France in 1960, and has since been among the politically stable countries in Africa. Senegals economy is centered mostly on commodities and natural resources, major industries are fish processing, phosphate mining, fertilizer production, petroleum refining, construction materials, and ship construction and repair. As in most African nations, agriculture is a sector, with Senegal producing several important cash crops, including peanuts, sugarcane, cotton, green beans, tomatoes, melons. Owing to its stability, tourism and hospitality are also burgeoning sectors. A multiethnic and secular nation, Senegal is predominantly Sunni Muslim with Sufi, French is the official language, although many native languages are spoken and recognized. Since April 2012 Senegals president has been Macky Sall, Senegal has been a member of the Organisation internationale de la Francophonie since 1970. Senegal is named after the Senegal River, the etymology of which is contested, one popular theory is that it stems from the Wolof phrase sunu gaal, which means our canoe, resulting from a miscommunication between 15th-century Portuguese sailors and Wolof fishermen. The our canoe theory has been embraced in modern Senegal for its charm. It is frequently used in appeals to national solidarity, frequently heard in the media, modern historians believe the name probably refers to the Sanhaja, Berbers who lived on the northern side of the river. A competing theory is that it derives from the town of Sanghana

3.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town

4.
France
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France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks

5.
Film director
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A film director is a person who directs the making of a film. Generally, a film director controls a films artistic and dramatic aspects, the director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film, the film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions, there are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors, other film directors have attended a film school. Some outline a general plotline and let the actors dialogue, while others control every aspect. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners, some directors edit or appear in their films, or compose the music score for their films. Film directors create a vision through which a film eventually becomes realized/noticed. Realizing this vision includes overseeing the artistic and technical elements of production, as well as directing the shooting timetable. This entails organizing the crew in such a way as to achieve their vision of the film. This requires skills of leadership, as well as the ability to maintain a singular focus even in the stressful. Moreover, it is necessary to have an eye to frame shots and to give precise feedback to cast and crew, thus. Thus the director ensures that all involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as a jigsaw puzzle with egos. It adds to the pressure that the success of a film can influence when, omnipresent are the boundaries of the films budget. Additionally, the director may also have to ensure an intended age rating, thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that 20-hour days are not unusual, under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a directors film reflects the directors personal creative vision

6.
Wolof people
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The Wolof people are a West African ethnic group found in northwestern Senegal, The Gambia, and southwestern coastal Mauritania. In Senegal, the Wolof are the largest ethnic group, while elsewhere they are a minority and they refer to themselves as Wolof, and speak the Wolof language – a West Atlantic branch of the Niger-Congo family of languages. Their early history is unclear and based on traditions that link the Wolof to the Almoravids. The Wolof belonged to the medieval era Wolof Empire of Senegambia region, details of the pre-Islamic religious traditions of Wolof are unknown, and their oral traditions state them to have been adherents of Islam since the founding king of Jolof. In and after the 18th century, the Wolofs were impacted by the violent jihads in West Africa, in the 19th century, as the colonial French forces launched a war against the Wolof kingdoms, the Wolof people resisted the French and converted to Islam. Contemporary Wolofs are predominantly Sufi Muslims belonging to Mouride and Tijaniyyah Islamic brotherhoods, the Wolof people, like other West African ethnic groups, have historically maintained a rigid, endogamous social stratification that included nobility, clerics, castes and slaves. The Wolof were close to the French colonial rulers, became integrated into the colonial administration and they are also referred to as Chelofes, Galofes, Lolof, Jolof, Olof, Volof, Wolluf and Yolof. The term Wolof also refers to the Wolof language and to their states, cultures, older French publications frequently employ the spelling Ouolof, up to the 19th century, the spellings Volof and Olof are also encountered. In English, Wollof and Woloff are found, particularly in reference to the Gambian Wolof, the spelling Jolof is often used, but in particular reference to the Wolof empire and kingdom in central Senegal that existed from the 14th to the 19th centuries. Similarly, a West African rice dish is known in English as jollof rice, the origins of the Wolof people are obscure, states David Gamble – a professor of Anthropology specializing on Senegambia and Africa studies. Their name as the Wolof first appears in the records of 15th century Portuguese travelers, according to Gamble, this migration likely occurred at the end of 11th century when the Ghana Empire fell to the Muslim armies from Sudan. Another oral tradition tells of a legend in Walo, which starts with two villages near a lake in a dispute, a mysterious person arose from the lake to settle the dispute. The villagers detained him, he settled among them and became the one who settled disputes and he was called Ndyadyane Ndyaye, and his descendants were called Ndiayes or Njie, and these led to ruling families of Wolof, Mali and Morocco, according to this mythical legend. The documented history, from 15th-century onwards is a story of rivalry between powerful families, wars, coups and conquests in Wolof society. The Jolof or Wolof Empire was a medieval West African state that parts of Senegal. Its final demise at the hands of French colonial forces in the 1870s-1890s also marks the beginning of the formation of Senegal as a unified state. By the end of the 15th century, the Wolof states of Jolof, Kayor, Baol, the position of king was held by the Burba Wolof and the rulers of the other component states owed loyalty and tribute payments to him. Slavery has been a part of the Wolof people since their earliest known history, in the pre-colonial era, slaves were either born or acquired through purchase or capture

7.
Cannes Film Festival
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Founded in 1946, the invitation-only festival is held annually at the Palais des Festivals et des Congrès. On 1 July 2014, co-founder and former head of French pay-TV operator Canal+ Pierre Lescure took over as President of the festival, the Board of Directors also appointed Gilles Jacob as Honorary President of the festival. The 2016 Cannes Film Festival took place between 11 and 22 May 2016, australian film director George Miller was the President of the Jury. I, Daniel Blake, directed by British director Ken Loach, in 2017, The Festival de Cannes will celebrate its 70th anniversary edition from May 17 to 28. In 1947, the festival was held as the Festival du film de Cannes, at that time the principle of equality was introduced, with a jury made up of only one representative per country. The festival is now held at the Palais des Festivals, expressly constructed for the occasion, although for its 1949 inaugural the roof was unfinished, the festival was not held in 1948 and 1950 on account of budgetary problems. Although its origins may be attributed in part to the French desire to compete with Autumns Venice Film Festival, in 1955, the Palme dOr was created, replacing the Grand Prix du Festival which had been given until that year. In 1957, Dolores del Rio was the first female member of the jury as a Sélection officielle – Member, in 1959, the Marché du Film was founded, giving the festival a commercial character and facilitating exchanges between sellers and buyers in the film industry. Today it has become the first international platform for film commerce, in 1962, the International Critics Week was born, created by the French Union of Film Critics as the first parallel section of the Cannes Film Festival. Its goal was to showcase first and second works by directors all over the world. In 1965, an hommage was paid to Jean Cocteau after his death, the next year, Olivia de Havilland was named the first female president of the festival. The 1968 festival was halted on 19 May, some directors, such as Carlos Saura and Miloš Forman, had withdrawn their films from the competition. The filmmakers achieved the reinstatement of the President, and they founded the Film Directors Society that same year, during the 1970s, important changes occurred in the Festival. In 1972, Robert Favre Le Bret was named the new President and he immediately introduced an important change in the selection of the participating films. Until that date, the different countries chose which films would represent them in the festival, Bessy created one committee to select French films, and another for foreign films. In 1978, Gilles Jacob assumed the President position, introducing the Caméra dOr award, in 1983, a new, much bigger Palais des Festivals et des Congrès was built to host the Festival. It was nicknamed The Bunker and provoked many reactions against it, in 1984, Pierre Viot replaced Robert Favre Le Bret as President of the Festival. It was not until 1995 that Gilles Jacob created the last section of the Official Selection and its aim was to support the creation of works of cinema in the world and to contribute to the entry of the new scenario writers in the circle of the celebrities

8.
Cinema of Africa
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African cinema is film production in Africa. It dates back to the early 20th century, when film reels were the primary technology in use. The Nigerian film industry is the largest in Africa in terms of value, number of films, revenue. It is also the second and third largest national film industry in the world, based on the number of annual films, during the colonial era, Africa was represented exclusively by Western filmmakers. The continent was portrayed as a land without history or culture. In the mid-1930s, the Bantu Educational Kinema Experiment was conducted in order to educate the Bantu, in the French colonies Africans were legally prohibited from making films of their own. The ban stunted the growth of film as a means for Africans to express themselves politically, culturally, and artistically. Vieyra was trained in filmmaking at the Institut des hautes études cinématographiques in Paris, afrique Sur Seine explores the difficulties of being an African in France during the 1950s and is considered to be the first film directed by a black African. Before independence, only a few films were produced. Also doing film work in Africa during this time was the French ethnographic filmmaker, Jean Rouch, his work was controversial with French, the first African film to win international recognition was Sembène Ousmanes La Noire de. also known as Black Girl. It showed the despair of an African woman who has to work as a maid in France, the writer Sembène had turned to cinema to reach a wider audience. He is still considered to be the father of African cinema, sembènes native country Senegal continued to be the most important place of African film production for more than a decade. With the creation of the African film festival FESPACO in Burkina Faso in 1969, FESPACO now takes place every two years in alternation with the film festival Carthago in. The Pan African Federation of Filmmakers was formed in 1969 in order to focus attention on the promotion of African film industries in terms of production, distribution and exhibition. From its inception, FEPACI was seen as a partner organization to the Organisation of African Unity. FEPACI looks at the role of film in the politico-economic and cultural development of African states, med Hondos Soleil O, shot in 1969, was immediately recognized. No less politically engaged than Sembène, he chose a more controversial filmic language to show what it means to be a stranger in France with the skin colour. Souleymane Cissés Yeelen and Cheick Oumar Sissokos Guimba were well received in the west, some critics criticized the filmmakers for adapting to the exotic tastes of western audiences

9.
Social realism
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While the movements characteristics vary from nation to nation, it almost always utilizes a form of descriptive or critical realism. Social realism traces back to 19th-century European Realism, including the art of Honoré Daumier, Gustave Courbet, in Russia Peredvizhniki or Social Realism was critical of the social environment that caused the conditions pictured, and denounced the evil Tsarist period. Ilya Repin, said that his art work was aimed “To criticize all the monstrosities of our vile society” of the Tsarist period, similar concerns were addressed in 20th-century Britain by the Artists International Association, Mass Observation and the Kitchen sink school. Social realist photography draws from the traditions of the late 19th century, such as the work of Jacob A. Riis. In about 1900, a group of Realist artists led by Robert Henri challenged the American Impressionism and academics, the term was suggested by a drawing by George Bellows, captioned Disappointments of the Ash Can, which appeared in the Philadelphia Record in April 1915. In paintings, illustrations, etchings, and lithographs, Ashcan artists concentrated on portraying New Yorks vitality, with a eye on current events. Barbara Weinberg of The Metropolitan Museum of Art has described the artists as documenting an unsettling, transitional time that was marked by confidence and doubt, excitement and trepidation. Ignoring or registering only gently harsh new realities such as the problems of immigration and urban poverty, notable Ashcan works include George Luks’ Breaker Boy and John Sloan’s Sixth Avenue Elevated at Third Street. The Ashcan school influenced the art of the Depression era, including Thomas Hart Benton’s mural City Activity with Subway, Social Realism with roots in European Realism became an important art movement during the Great Depression in the United States in the 1930s. As an American artistic movement it is related to American scene painting. In Mexico the painter Frida Kahlo is associated with the realism movement. The Mexican muralist movement is characterized by its political undertones, the majority of which are of a Marxist nature, diego Rivera, David Alfaro Siqueiros, José Clemente Orozco, and Rufino Tamayo are the best known proponents of the movement. Santiago Martínez Delgado, Jorge González Camarena, Roberto Montenegro, Federico Cantú Garza, the term dates on a broader scale to the Realist movement in French art during the mid-19th century. The social realist style fell out of fashion in the 1960s but is influential in thinking. Many artists who subscribed to social realism were painters with socialist political views, in certain contexts, socialist realism has been described as a specific branch of social realism. Social realism has been summarized as follows, Social Realism developed as a reaction against idealism, consequences of the Industrial Revolution became apparent, urban centers grew, slums proliferated on a new scale contrasting with the display of wealth of the upper classes. With a new sense of consciousness, the Social Realists pledged to “fight the beautiful art”. They focused on the realities of contemporary life and sympathized with working-class people

10.
Griot
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A griot, jali or jeli is a West African historian, storyteller, praise singer, poet and/or musician. The griot is a repository of oral tradition and is seen as a societal leader due to his or her traditional position as an advisor to royal personages. As a result of the former of two functions, he or she is sometimes also called a bard. His wit can be devastating and his knowledge of local history formidable, although they are popularly known as praise singers, griots may use their vocal expertise for gossip, satire, or political comment. Griots today live in parts of West Africa and are present among the Mande peoples, Fulɓe, Hausa, Songhai, Tukulóor, Wolof, Serer, Mossi, Dagomba, Mauritanian Arabs. The word may derive from the French transliteration guiriot of the Portuguese word criado and these story-tellers are more predominant in the northern portions of West Africa. In African languages, griots are referred to by a number of names, jeli in northern Mande areas, jali in southern Mande areas, guewel in Wolof, gawlo in Pulaar, and iggawen in Hassaniyan. Griots form a caste, meaning that most of them only marry fellow griots. Francis Bebey writes about the griot in his book African Music, A Peoples Art, The West African griot is a troubadour, the griot knows everything that is going on. He is an archive of the peoples traditions. The virtuoso talents of the griots command universal admiration and this virtuosity is the culmination of long years of study and hard work under the tuition of a teacher who is often a father or uncle. The profession is by no means a male prerogative, there are many women griots whose talents as singers and musicians are equally remarkable. The Manding term jeliya is sometimes used for the knowledge of griots, jali comes from the root word jali or djali. This word is also the given to griots in areas corresponding to the former Mali Empire. Though the usage griot is far more common in English, some griot advocates such as Bakari Sumano prefer the term jeli, the Mali Empire, at its height in the middle of the 14th century, extended from central Africa to West Africa. The empire was founded by Sundiata Keita, whose exploits remain celebrated in Mali today, in the Epic of Sundiata, King Naré Maghann Konaté offered his son Sundiata a griot, Balla Fasséké, to advise him in his reign. Balla Fasséké is considered the founder of the Kouyaté line of griots that exists to this day, each aristocratic family of griots accompanied a higher-ranked family of warrior-kings or emperors, called jatigi. In traditional culture, no griot can be without a jatigi, and no jatigi can be without a griot, however, the jatigi can accept a loan of his griot to another jatigi